Skip to main content Smithsonian Institution

Search Results

Collections Search Center
1,461 documents - page 1 of 74

[Raku Place]: bamboo screens the house and artists' studios from the state road.

Photographer:
Kemenyffy, Susan Hale.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Digital image (JPEG file, color.)
Type:
Archival materials
Digital images
Place:
Raku Place (McKean, Pennsylvania)
United States of America -- Pennsylvania -- Philadelphia -- Philadelphia
Date:
2011 Jun.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Pennsylvania -- McKean  Search this
Bamboo  Search this
Weeping willow  Search this
Lawns  Search this
Trees  Search this
Genre/Form:
Digital images
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA825014
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA825: McKean -- Raku Place
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref17176

Photograph of Reuben Tam in his studio on Monhegan Island, Maine

Subject:
Tam, Reuben  Search this
Type:
Photographs
Date:
circa 1951
Topic:
Artists at or with their work  Search this
Artists' studios  Search this
Asian American artists  Search this
Record number:
(DSI-AAA)13491
See more items in:
Reuben Tam papers, 1931-2006
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13491
Online Media:

Harry C. Ellis photographs of Herbert Ward's studio in Paris

Creator:
Ellis, Harry C., b. 1857  Search this
Names:
Ward, Herbert, 1863-1919  Search this
Extent:
24 Prints (silver gelatin)
Type:
Collection descriptions
Archival materials
Prints
Scrapbooks
Photographs
Place:
Africa -- Art
Paris (France)
Date:
1911
Scope and Contents note:
Photographs documenting Herbert Ward's studio, collection of African artifacts, and bronze sculptures of African subjects. The photographs are in an album titled "L'atelier de Herbert Ward, Paris," with the inscription "To Thomas Nelson Paye with Herbert's love. Paris, 1911."
Biographical/Historical note:
Harry C. Ellis was an American photographer in Paris (circa 1898-1927) who worked under the moniker "American Flashlight Photographer." Some of his photographs were commissioned by the National Geographic Society, and many depict artists of the time, including Auguste Rodin and Loie Fuller.
Local Call Number(s):
NAA Photo Lot 75-52
Location of Other Archival Materials:
Ward's collection of bronzes and artifacts, depicted in the photographs in this collection, can be found in the Department of Anthropology, Smithsonian Institution, in accession 067312.
A pamphlet on the Herbert Ward African Collection can be found in the National Anthropological Archives reference files.
Additional Ellis photographs of Ward's studio can be found in the National Anthropological Archives in Photo Lot 4 (under H.C. Ellis).
Ward's drawings, made during the Emin Pasha Relief Expedition, can be found in the National Anthropological Archives in MS 1999-23.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Artists' studios  Search this
Bronzes  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Photo lot 75-52, Harry C. Ellis photographs of Herbert Ward's studio in Paris, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.75-52
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-75-52

Lowell Nesbitt papers, circa 1903-1993, bulk 1950-1993

Creator:
Nesbitt, Lowell, 1933-1993  Search this
Subject:
Johns, Jasper  Search this
Mitchell, Jack  Search this
Indiana, Robert  Search this
Warhol, Andy  Search this
Type:
Sketchbooks
Drawings
Scrapbooks
Video recordings
Paintings
Sound recordings
Photographs
Designs
Collages
Prints
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Photographers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)8080
(DSI-AAA_SIRISBib)210251
AAA_collcode_nesblowe
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210251
Online Media:

Lowell Nesbitt papers

Creator:
Nesbitt, Lowell, 1933-1993  Search this
Names:
Indiana, Robert, 1928-  Search this
Johns, Jasper, 1930-  Search this
Mitchell, Jack, 1925-  Search this
Warhol, Andy, 1928- -- Photographs  Search this
Extent:
50.2 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Drawings
Scrapbooks
Video recordings
Paintings
Sound recordings
Photographs
Designs
Collages
Prints
Date:
circa 1903-1993
bulk 1950-1993
Summary:
The papers of painter, photographer and sculptor Lowell Nesbitt measure 50.2 linear feet and 0.001 GB and date from circa 1903-1993 (bulk 1950-1993). The collection documents Nesbitt's career through biographical material, correspondence, subject files, business and financial records, source material, artwork, photographs and audiovisual records, printed material and scrapbooks.
Scope and Contents note:
The papers of painter, photographer and sculptor Lowell Nesbitt measure 50.2 linear feet and 0.001 GB and date from circa 1903-1993 (bulk 1950-1993). The collection documents Nesbitt's career through biographical material, correspondence, subject files, business and financial records, source material, artwork, printed and digital matter, photographs and audiovisual records and scrapbooks.

Biographical Material includes documentation of Nesbitt's education and other personal documents. Plans and designs for Nesbitt's properties on West Twelfth Street, New York City and Kent, New York are arranged in the series for architectural records for homes and studios

Correspondence and Subject Files are voluminous and record Nesbitt's interaction with individuals, businesses and organizations and includes personal and family correspondence in addition to correspondence relating to galleries, exhibitions, commissions he undertook and committees on which he served.

Artwork by Nesbitt includes a small collection of collages, drawings, paintings, prints and sketchbooks. Source material comprises approximately 11 linear feet of material, primarily newspaper and magazine clippings and photographs, relating to a large variety of subjects that inspired Nesbitt, such as flowers, fruits and vegetables, dogs and other animals and the studios of other artists including Robert Indiana, Jasper Johns and Andy Warhol.

Photographs are of Nesbitt, his friends, family, colleagues and his pets, as well as subjects of interest to him in his work. Also of note are twenty-seven folders of photographs taken by photographer Jack Mitchell of Nesbitt and others.

Printed Material contains publicity material and documents exhibitions of Nesbitt's work. Additional photographs and printed material are found in the Scrapbooks.
Arrangement note:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1932-1988 (Boxes 1, 40, OV 58; 1.0 linear ft.)

Series 2: Architectural Records for Homes and Studios, 1977-1992 (Boxes 1-2, 40; 1.0 linear ft.)

Series 3: Notes and Writings, 1981-1990 (Boxes 2-3; 1.0 linear ft.)

Series 4: Calendars and Addressess, 1973-1993 (Boxes 3-5; 1.25 linear ft.)

Series 5: Correspondence and Subject Files, 1940-circa 1990s (Boxes 5-12, 40, OV 51; 8.0 linear feet, ER01; 0.001 GB)

Series 6: Business and Financial Records, circa 1910-1993 (Boxes 12-14; 2.0 linear ft.)

Series 7: Artwork, circa 1948-1989 (Boxes 15-16, 41-42, OVs 52, 55; 2.0 linear ft.)

Series 8: Source Material, 1965-circa 1990s (Boxes 16-26, 43-45, OV 53; 12.0 linear ft.)

Series 9: Photographs and Audiovisual Records, 1965-circa 1990s (Boxes 16-26, 43-46, OV 53, FC 76-78; 12.3 linear ft.)

Series 10: Printed Material, circa 1960s-circa 1990s (Boxes 37-39, 45, OVs 48-50, 54, 56, 60, 79; 3.05 linear feet

Series 11: Scrapbooks, 1964-1992 (Boxes 61-75; 6.6 linear feet)
Biographical/Historical note:
Painter, photographer, and sculptor Lowell Nesbitt worked primarily in New York City.

Lowell Nesbitt was born in Baltimore, Maryland, in 1933. In college he studied stained glass and printmaking, graduating from the Tyler School of Art at Temple University in Philadelphia in 1955 and attending the Royal College of Art in London from 1955 to 1956.

After serving for several years in the United States Army in the mid 1950s, Nesbitt received his first exhibition at the Baltimore Museum of Art in 1958. By 1963 he had moved to New York City and by the 1970s had emerged as one of the most well known artists in the United States. Nesbitt was frequently grouped with the photo realists and was best known for more than four hundred works he created with the flower as his central theme. In addition to flowers, Nesbitt's subjects included studio interiors, dogs, fruits and vegetables, bridges and buildings in New York, and male nudes. He began experimenting with printmaking in the 1960s and produced more than a hundred original prints in the course of his lifetime, primarily in the medium of dry point engraving. In 1963 he began a series of x-ray inspired paintings and was credited with being the first artist to produce a body of work of this kind. During the same period he began a long-standing relationship with the Howard Wise Gallery in New York, a space known for it's devotion to art and new technology.

In 1969 and 1970 the National Aeronautics and Space Administration named Nesbitt the official artist of the Apollo 9 and Apollo 13 missions. In 1980 the United States Postal Service released a series of four postage stamps based on his floral paintings.

Following a major one-man show at the Corcoran Gallery in Washington, DC in 1964, Nesbitt's work was exhibitied widely in Europe and the United States. In New York City he was represented by the Stable Gallery, the Robert Stefanotti Gallery and the Andrew Crispo Gallery. In the late 1960s and early 1970s Nesbitt taught at Towson State and Morgan State Colleges in Maryland, and the School of Visual Arts in New York.

Nesbitt was active in the National Multiple Sclerosis Society from the early 1980s until his death, serving as co-chairman on the Society's annual juried Project Rembrandt exhibition for artists with multiple sclerosis. He was also actively involved in fundraising for artists with HIV/AIDS.

Nesbitt's work is represented in many major museum collections including the Art Institute of Chicago, Baltimore Museum of Art, Bibliotheque Nationale (Paris), Corcoran Gallery, Detroit Institute of Art, Hirshhorn Museum, Museum of Modern Art, and the National Gallery.

Lowell Nesbitt died in 1993 at the age of 59.
Provenance:
A portion of the papers were donated by Lowell Nesbitt in 1984 and the bulk of the papers were a bequest from Nesbitt's estate in 1994.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Photographers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Drawings
Scrapbooks
Video recordings
Paintings
Sound recordings
Photographs
Designs
Collages
Prints
Citation:
Lowell Nesbitt papers, circa 1903-1993 (bulk 1950-1993). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesblowe
See more items in:
Lowell Nesbitt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nesblowe

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
Online Media:

Marcus, Paul

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 63, Folder 18
Type:
Archival materials
Date:
1949-1962
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10503
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Marcus, Paul digital asset number 1

Chester Beach papers

Creator:
Beach, Chester, 1881-1956  Search this
Names:
American Academy in Rome  Search this
Architectural League of New York  Search this
Cleveland Museum of Art  Search this
Ecole nationale supérieure des beaux-arts (France)  Search this
Frontier Art Colony  Search this
Mark Hopkins Institute of Art  Search this
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Salmagundi Club  Search this
Salon d'automne  Search this
Allen, Mary Jester  Search this
Beach, Eleanor Murdock  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Couper, William, 1853-1942  Search this
Fitchen, Eleanor Beach  Search this
French, Daniel Chester, 1850-1931  Search this
Greacen, Edmund W., 1876-1949  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Jackson, Hazel Brill  Search this
Jennewein, Carl Paul, 1890-  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Walt, 1877-1949  Search this
Käsebier, Gertrude, 1852-1934  Search this
Leibig, Bonnie  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Nelson, Laurence, 1887-1978  Search this
Nisbet, Robert H., 1879-1961  Search this
Olmsted, Frederick Law, 1822-1903  Search this
Piexotto, Jessica B.  Search this
Winter, Ezra, 1886-1949  Search this
Extent:
7.32 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Date:
1846-1999
bulk 1895-1999
Summary:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.
Scope and Contents:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.
Arrangement:
The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)
Biographical / Historical:
Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.
Separated Materials:
Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors, American -- New York (State) -- New York  Search this
Eclecticism in architecture  Search this
Sculptors -- New York (State) -- New York  Search this
Sculpture -- Technique  Search this
Sculpture -- Equipment and supplies  Search this
Artists' studios  Search this
Sculpture -- Economic aspects  Search this
Genre/Form:
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Citation:
Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beacches
See more items in:
Chester Beach papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beacches
Online Media:

Charles Campbell Gallery records

Creator:
Charles Campbell Gallery  Search this
Names:
Allan Stone Gallery  Search this
Bryce Bannatyne Gallery  Search this
Canfield Gallery  Search this
Forum Gallery (New York, N.Y.)  Search this
San Francisco Art Dealers Association  Search this
Trini Gallery  Search this
Allagaert, Peter  Search this
Asawa, Ruth  Search this
Battenberg, John N., 1931-  Search this
Bellocq, E. J.  Search this
Berlind, Robert, 1938-  Search this
Bischoff, Elmer, 1916-1991  Search this
Brown, Joan, 1938-1990  Search this
Brown, William Theo, 1919-  Search this
Cook, Gordon  Search this
Farr, Charles Griffin, 1908-  Search this
Felix Landau Gallery  Search this
Ghent, Henri, 1926-  Search this
Goray, John  Search this
Graves, Morris, 1910-  Search this
Guest, Barbara  Search this
Harvey, Robert  Search this
Hattis, Phyllis  Search this
Mattox, Charles, 1910-1996  Search this
Morton, Geer  Search this
Olivera, Nathan  Search this
Qualters, Robert  Search this
Reichman, Fred, 1925-  Search this
Rustin, Jean, 1928-  Search this
Sanchez, Stephani  Search this
Thiebaud, Wayne  Search this
Van Hoesen, Beth, 1926-2010  Search this
Villa, Carlos, 1936-2013  Search this
Wonner, Paul, 1920-2008  Search this
Extent:
17.6 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Sketches
Date:
1960-2001
Summary:
The records of the Charles Campbell Gallery in San Francisco date from 1960 to 2001 and measure 17.6 linear feet. The records include business correspondence with galleries, curators, trusts, and individual buyers and sellers; business records consisting of administrative files, business notebooks, and financial material; artist and exhibition files; and Charles Campbell's related personal files that include correspondence, catalogs, newsletters, and clippings about jazz, and photos and travel. Substantial artist files exist for Nathan Oliveira, which contain original artwork and photos of the artist, Peter Allegaert, Gordon Cook, Charles Griffin Farr, Morris Graves, Robert Harvey, Geer Morton, Fred Reichman, Jean Rustin, Stephani Sanchez, and Wayne Thiebaud, among others.
Scope and Contents:
The records of the Charles Campbell Gallery in San Francisco date from 1960 to 2001 and measure 17.6 linear feet. The records include business correspondence with galleries, curators, trusts, and individual buyers and sellers; business records consisting of administrative files, business notebooks, and financial material; artist and exhibition files; and Charles Campbell's related personal files that include correspondence, catalogs, newsletters, and clippings about jazz, and photos and travel. Substantial artist files exist for Nathan Oliveira, which contain original artwork and photos of the artist, Peter Allegaert, Gordon Cook, Charles Griffin Farr, Morris Graves, Robert Harvey, Geer Morton, Fred Reichman, Jean Rustin, Stephani Sanchez, and Wayne Thiebaud, among others.

The records are a rich resource for documenting the Bay Area Figuration art movement in the San Francisco region.

Business correspondence is with galleries, curators, trusts, and individuals mostly regarding loans and sales. Correspondents include Allan Stone Gallery, Bryce Bannatyne Gallery, Canfield Gallery, Forum Gallery, Felix Landau Gallery, Henri Ghent, Barbara Guest, Phyllis Hattis, and Trini Gallery, among many others. Although there is scattered correspondence with artists filed among the business correspondence, the bulk of the gallery's correspondence with artists is found in the Artist and Exhibition Files.

Business records include administrative files comprised of mailing lists, business registration records, newsletters, information about affiliated organizations (including The San Francisco Art Dealers Association), and records and clippings about arts law. Gallery notebooks contain information about the gallery's day-to-day activities and also include inventories, contacts, accounting information, and lists of business arrangements and dealings. Financial materials include appraisal and consignment records, invoices, insurance records,donation records, and a vendor analysis report comprise the financial material.

Almost two-thirds of the collection is comprised of artist and exhibition files. In addition to the artistis listed above, there are substantial artist files for Ruth Asawa, E. J. Bellocq, Elmer Bischoff, Robert Berlind, John Battenberg, Joan Brown, William Theophilus Brown, Charles Mattox, Robert Qualters, Beth Van Hoesen, Carlos Villa, Paul Wonner, among many others. The artist files also include artwork, such as pen and ink and pencil sketches by Peter Allegaert, ink and gouache sketches by Nathan Oliveira, and a pen and ink sketch by John Goray. Scattered photos depict artists (notably Oliveira), their studios, artwork and installation shots, and exhibition attendee notebooks document shows from 1978 to 1987.

The collection also contains personal correspondence and files relating to Charles Campbell's interest in jazz and travel. These records include music catalogs, clippings, newsletters, correspondence, brochures, tickets, maps, travel agendas, and photos. Campbell's personal correspondence is scattered throughout the collection, and documents Charles' and his wife Esther's friendships with artists and others.
Arrangement:
The collection is arranged as 5 series.

Series 1: Business Correspondence, 1968-1996 (Boxes 1-3; 2.3 linear feet)

Series 2: Business Records, circa 1968-2001 (Boxes 3-5; 2.3 linear feet)

Series 3: Artist and Exhibition Files, 1960-1999 (Boxes 5-15; 10.7 linear feet)

Series 4: Personal Files, circa 1972-circa 1998 (Boxes 16-17; 1.6 linear feet)

Series 5: Printed Material, 1965-2000 (Boxes 17-19; 0.7 linear feet)
Biographical / Historical:
The Charles Campbell Gallery was established by Charles Campbell in 1972 in North Beach, San Francisco, following his ownership of The Louvre, a frame shop that he established in 1947. The Charles Campbell Gallery was among the most important San Francisco galleries of that era, especially for showing local artists. Campbell was a close friend of many of the leading Bay Area artists, most of whom had exhibibitions at his gallery, including Richard Diebenkorn, Wayne Thiebaud, Hassel Smith, Elmer Bischoff, and Gordon Onslow-Ford. Some of the artists represented and shown at the gallery were later identified with the region's signature art movement, Bay Area Figuration, including Nathan Oliviera, Paul Wonner, Gordon Cook, William Theophilus Brown, James Weeks, and Joan Brown.

Campbell partnered with Paul Thiebaud in 1990 and the gallery changed its name to the Campbell-Thiebaud Gallery, and began to show a fresh roster of artists. The partnership ended on friendly terms in 2001, with the business becoming the Paul Thiebaud Gallery. After this, Campbell re-established his independent gallery for a short while collaborating with a former gallery assistant Steven Lopez. This collaboration ended in a lawsuit resolved in 2007-2008 that essentially dissolved the gallery in all but name.

Campbell was also very interested in jazz and he was at one point the manager of trombone player Turk Murphy. They briefly ran a club together in San Francisco, The Italian Villa.

Charles Campbell died in 2014 at the age of 99.
Provenance:
Charles Campbell donated the Charles Campbell Gallery records in 2002.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Serices for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios -- Photographs  Search this
Figurative art  Search this
Travel  Search this
Jazz  Search this
Law and art  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Visitors' books
Sketches
Citation:
Charles Campbell Gallery records, 1960-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.campgall
See more items in:
Charles Campbell Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-campgall
Online Media:

Artist Files

Collection Creator:
Dorothy Weiss Gallery  Search this
Extent:
17.5 Linear feet (Boxes 1-18, OV 21)
Type:
Archival materials
Date:
circa 1964-2001
Scope and Contents note:
This series contains files for artists represented by the gallery, or featured in the gallery's exhibitions. There are also files for artists in whom Weiss had an interest but with whom she never pursued a business relationship. While some artists are represented by only a single file, others are represented more fully. The latter include Hank Murta Adams, Rudy Autio, Annette Corcoran, Philip Cornelius, Wouter Dam, Ruth Duckworth, Jack Earl, Tony Hepburn, Jun Kaneko, Michael Lucero, Beverly Mayeri, William Morris, Jay Musler, Barbara Bell Smith, Statom Therman, Yoshio Taylor, Robert Turner, Jamie Walker, and Stan Welsh.

Files typically include any or all of the following: announcements and press releases for exhibitions held at the gallery; correspondence with artists, buyers, collectors, museums and art institutions; biographical material such as résumés and artist statements; consignment, loan and shipping records; inventories and price lists; printed material; photographs of artists; and photographs of artwork.

Correspondence generally includes original incoming letters and drafts or copies of outgoing letters. To preserve the original order of the collection, records relating to a particular artist were broken down according to the system imposed by the creator. Consequently, files labeled "correspondence" may also include material such as price lists, inventories, consignment and loan records, invoices, and shipping records.

Photographic material generally consists of images of artwork and may also contain images of gallery installations or photographs of work in an artist's studio. Photographs of artists are filed separately and/or noted in the container list.

Additional slide transparencies of artwork by many of the artists represented here can be found at the end of the series. These were separated from the artist files in which they were originally housed for storage reasons. Researchers should check the list of transparencies for additional information about any artist of interest. "SB" next to the box number indicates the slide box in which particular slide transparencies are housed.
Arrangement note:
Files are arranged alphabetically by artist. When there is more than one folder for an artist they are arranged alphabetically by folder title, with the exception of photographs of artists and photographic material which are placed at the end of each group. Transparencies of artwork are arranged alphabetically by artists, and chronologically by date of artwork (not the date that the transparency was developed which is often unknown), with undated transparencies at the beginning of each group.
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Weiss Gallery records, circa 1964-2001 (bulk 1984-2000). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.doroweig, Series 1
See more items in:
Dorothy Weiss Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-doroweig-ref14

Oral history interview with Andrea Zittel, 2018 January 8-9

Interviewee:
Zittel, Andrea, 1965-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Type:
Sound recordings
Interviews
Topic:
Multimedia (Art)  Search this
Women artists -- California -- Interviews  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17534
(DSI-AAA_SIRISBib)392051
AAA_collcode_zittel17
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_392051

Oral history interview with Andrea Zittel

Interviewee:
Zittel, Andrea, 1965-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Extent:
21 Items (sound files (5 hr., 24 min.) Audio, digital, wav)
126 Pages
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2018 January 8-9
Scope and Contents:
An interview with Andrea Zittel conducted 2018 January 8 and 9, by Hunter Drohojowska-Philp, for the Archives of American Art, at the artist's studio in Joshua Tree, California.
Zittel discusses life as an artist and designer at her studio and production company A-Z West in Joshua Tree; growing up in Escondido, California and visiting her grandparents' ranch in El Centro, California as a child and the attraction she felt to the desert; her year in Germany as a schoolchild; her rebellious years as a teenager; her undergraduate work at San Diego State University, her studies of photography and art there and the influence of the photographer Walter Cotten; her subsequent graduate work at the Rhode Island School of Design; her work on the staff at Pat Hearn Gallery; her purchase of a building in Brooklyn and the establishment of A-Z East; her work with breeding animals and insects in her apartment and her living spaces and the first Breeding Unit; the creation of her first self-contained Living Unit; her work with custom-designed uniforms meant for long-term wear; and her early success with significant mid-'90s shows at galleries and museums in the United States and Europe.

Zittel also describes her relocation from New York to Joshua Tree in the Mojave Desert; her relationship with the artist Allan McCollum; her expanding series of sculptural furniture and living pieces including Fleds, Ottoman Furniture, Travel Trailers and the Management and Maintenance Unit; life in the Mojave Desert and the historical impact of the post-war Homestead Act on her part of San Bernardino County; her son Emmett and his father David Dodge; her partner, the musician Katy Davidson; the integration of textiles and handcraft in her work; her work with the arts organization High Desert Test Sites; her clothing production effort Smockshop; and her thoughts about having A-Z West be self-sustaining and creating a legacy.

Zittel also recalls Gillian Theobald; Janet Cooling; Rob Storr; Peter Watson; Andrea Rosen; Dan Wineman; Rainer Ganahl; Craig Kalpakjian; Mike Ballou as well as Klaus Biesenbach; Sebastian Clough; Shaun Regen; Kip Fjeld; Judith Solodkyne; and Brooke Hodge, among others.
Biographical / Historical:
Andrea Zittel (1965- ) is a multimedia artist based in Joshua Tree, California and New York, New York. Hunter Drohojowska-Philp is a writer in Los Angeles, California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Topic:
Multimedia (Art)  Search this
Women artists -- California -- Interviews  Search this
Women artists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.zittel17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zittel17
Online Media:

Tony DeLap papers

Creator:
DeLap, Tony, 1927-  Search this
Names:
Janus Gallery (Venice, Los Angeles, Calif.)  Search this
University of California, Irvine -- Faculty  Search this
Conner, Bruce  Search this
Darrow, Paul, 1921-  Search this
Hafif, Marcia, 1929-  Search this
Kauffman, Craig, 1932-2010  Search this
Landau, Felix, 1924-2003  Search this
McCracken, John, 1934-2011  Search this
McLaughlin, John, 1898-  Search this
Nauman, Bruce, 1941-  Search this
Rhinelander, Clare H.  Search this
Solomon, Alan R., 1920-1970  Search this
Stinton,, Nell  Search this
Thiebaud, Wayne  Search this
Wortz, Melinda  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Greeting cards
Photographs
Postcards
Scrapbooks
Date:
circa 1950-2015
Summary:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.
Scope and Contents:
The papers of artist Tony DeLap measure 1.4 linear feet and date from circa 1950 to 2015. The collection includes correspondence, writings, materials related to professional and teaching activities, printed material, a scrapbook, and photographic material.

Correspondence includes greeting and holiday cards, postcards, and letters with family, friends, other artists, and museums and other arts institutions. Notable correspondents include Alan Solomon, Melinda Wortz, Marcia Hafif, Bruce Conner, John McCracken, Paul Darrow, Bruce Nauman, Craig Kauffman, Nell Stinton, Felix Landau, Wayne Thiebaud, and John McLaughlin.

Writings include autobiographical notes, DeLap's notes on art and magic, and notes and writings on John McLaughlin. Also included is a paper on DeLap's 1983 exhibition at Janus Gallery by Clare H. Rhinelander.

The professional activities series contains DeLap's resume and bibliography, as well as materials related to his teaching appointments and promotion, including letters of recommendation, course lists, and a graduate trip itinerary.

Printed Material includes exhibition materials including announcements, calendars, and catalogs; newsletters, newspapers, journals, and newspaper clippings. This series makes up the bulk of the collection.

One scrapbook in the collection contains clippings, exhibition announcements, posters, and catalogs, and award ribbons.

Photographic material includes slides of DeLap's work, as well as photographs of DeLap, his studio, exhibitions and installations, snapshots of family, friends, and travel.
Arrangement:
The collection is arranged in six series.

Series 1: Correspondence, circa 1967-2015 (Box 1; 2 folders)

Series 2: Writings, circa 1960-2013 (Box 1; 4 folders)

Series 3: Professional Activities, circa 1964-1983, circa 2015 (Box 1; 2 folders)

Series 4: Printed Material, 1955-2015 (Boxes 1 and 2, OV 3, 0.6 linear feet)

Series 5: Scrapbook, 1955-1967 (Box 2, 0.3 linear feet)

Series 6: Photographic Material, circa 1950-2012 (Box 1, 0.2 linear feet)
Biographical / Historical:
Tony DeLap is an artist and professor emeritus of art in Orange County, California. He is a pioneer of West Coast minimalism with a special interest in visual illusion including performed magic.

DeLap was born in 1927 in Oakland, California and grew up in the Bay Area. He studied art, illustration, and graphic design at colleges in the Bay Area and taught at institutions including the California College of Arts and at the University of California, Davis. In 1965 he was offered a position at the newly founded University of California, Irvine, where he taught until 1991.

DeLap has exhibited widely and his work is held in collections at the Museum of Modern Art, the Whitney Museum of Art, the Solomon R. Guggenheim Museum, the Albright-Knox Gallery in Buffalo, the Los Angeles County Museum of Art, the Tate Gallery in London, and le Musée Cantonal des Beaux-Arts in Lausanne, Switzerland.
Provenance:
The papers were donated by Tony DeLap in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Topic:
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Greeting cards
Photographs
Postcards
Scrapbooks
Citation:
Tony DeLap papers, circa 1950-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.delatony
See more items in:
Tony DeLap papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-delatony

Carl Rungius papers

Creator:
Rungius, Carl, 1869-1959  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Postcards
Date:
1896-1995
Summary:
The Carl Rungius papers, 1896-1995, measure 0.6 linear feet. A scrapbook and three photograph albums document the work, interests, and family of the wildlife painter and illustrator.
Scope and Contents note:
The Carl Rungius papers, 1896-1995, measure 0.6 linear feet. A scrapbook and three photograph albums work, interests, and family of the wildlife painter and illustrator.

The scrapbook contains mostly printed material and reproductions of Rungius's work. In addition, there is a photograph of a painting and a letter reporting that his ashes had been spread in Banff, Canada.

Three family photograph albums include photographs of Carl Rungius and other family members (mainly Fuldas, since Rungius's mother, his wife, and a sister's husband were Fuldas), along with some travel pictures, views of studios and family houses. Volume 3 also contains a fair amount of printed material such as Rungius's Christmas cards featuring reproductions of his paintings, clippings, an exhibition catalog, and an illustrated brochure announcing the publication of new etchings.

Also found are three illustrated postcards from Lise. Printed material consists of an article about Carl Rungius and periodicals about hiking and trail riding in the Canadian Rockies.
Arrangement note:
The collection is arranged as 4 series:

Series 1: Illustrated Postcards from Lise, 1908 (Box 1; 1 folder)

Series 2: Printed Material, 1935-1938, 1985 (Box 1; 1 folder)

Series 3: Scrapbook, 1921-1986 (Bound volume 2; 0.1 linear ft.)

Series 4: Photographs, 1896-1995 (Box 1; 0.3 linear ft.)
Biographical/Historical note:
Carl Rungius (1869-1959) was a painter and illustrator of wildlife in New York, N.Y., the Western U.S. and Banff, Alberta, Canada.

From an early age Rungius enjoyed hunting and wanted to be an artist. Between 1888 and 1890 he was enrolled at the Berlin Academy of Art in his native city, but the curriculum did not suit his interests. He spent much of his free time at the Berlin Zoo studying and sketching animals, and often visited a glue factory that afforded opportunities to observe animal anatomy.

In 1894 an uncle invited Rungius to visit him in Maine and hunt moose. The following summer Rungius stalked game in Wyoming where the variety and abundance of wildlife and the dramatic western landscape greatly impressed him. Rungius immigrated to the United States in 1896.

Growing concern about native animal populations and a conservation movement aided by the efforts of President Theodore Roosevelt generated many books, magazines, and other publications which Rungius frequently received commissions to illustrate. He ceased illustration work around 1909 to devote himself to easel painting. Rungius first visited the Canadian Rockies in 1910 and so enjoyed painting and hunting there that eventually he built a studio in Banff, where he worked each April through October from 1921 until his death in 1959.
Related Archival Materials note:
Also at the Archives of American Art are the Elisabeth Rungius Fulda papers, 1895-1967, that contain information about her brother Carl Rungius, including: a photograph of Elisabeth Fulda and Carl Rungius, letters from Rungius to his sister concerning her art studies and his own training, his will and letters about his death, and letters from the Glenbow Foundation about an exhibition of Rungius's drawings (microfilm reels 101, 2812, N695, and 3482).

An interview with Carl Rungius conducted by DeWitt McClellan Lockman is part of Interviews of artists and architects associated with the National Academy of Design.

Rungius's estate, including personal papers and the contents of his studios in Banff and New York, were purchased for the Glenbow Museum in Calgary, Alberta, Canada, by its founder, Eric Harvie.
Provenance:
Donated in 2011 by Ruth Fulda Wacker, niece of Carl Rungius, via Robert A. Brady, executor of her estate.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Animal painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Postcards
Citation:
Carl Rungius papers, 1896-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rungcarl
See more items in:
Carl Rungius papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rungcarl

Josef Presser and Agnes Hart papers

Creator:
Presser, Josef, 1906-1967  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Artists Equity Association  Search this
Central Cown Art Center  Search this
Dalton School (New York, N.Y.)  Search this
New York University -- Faculty  Search this
Parnassus Square  Search this
Port of New York Authority  Search this
Prospect Hill School (New Haven, Conn.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Ames, Elizabeth  Search this
Blanch, Lucile, 1895-1981  Search this
Fraser, Vera  Search this
Hart, Agnes, 1912-1979  Search this
Hopkinson, Charles, 1869-1962  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Smedley, Agnes, 1892-1950  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Sketchbooks
Photographs
Date:
1913-1980
Summary:
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Postcards
Sketchbooks
Photographs
Citation:
Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.presjose
See more items in:
Josef Presser and Agnes Hart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-presjose
Online Media:

Artist studio with Constance Stuart Larrabee's photographs displayed, Johannesburg (South Africa)

Photographer:
Larrabee, Constance Stuart  Search this
Collection Photographer:
Larrabee, Constance Stuart  Search this
Extent:
1 Negatives (photographic) (black and white, 120mm)
Type:
Archival materials
Negatives (photographic)
Date:
1983
General:
Strip number: 4763 - 4765; Larrabee's description on negative sleeve: South Africa 1983, Johannesburg Scenes
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Johannesburg (South Africa)  Search this
South Africa  Search this
Collection Citation:
Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1998-006, Item EEPA 1998-064763
See more items in:
Constance Stuart Larrabee Collection
Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Artists and Studio, Johannesburg, South Africa
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1998-006-ref12777

Artist studio with Constance Stuart Larrabee's photographs displayed, Johannesburg (South Africa)

Photographer:
Larrabee, Constance Stuart  Search this
Collection Photographer:
Larrabee, Constance Stuart  Search this
Extent:
1 Negatives (photographic) (black and white, 120mm)
Type:
Archival materials
Negatives (photographic)
Date:
1983
General:
Strip number: 4763 - 4765; Larrabee's description on negative sleeve: South Africa 1983, Johannesburg Scenes
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Johannesburg (South Africa)  Search this
South Africa  Search this
Collection Citation:
Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1998-006, Item EEPA 1998-064764
See more items in:
Constance Stuart Larrabee Collection
Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Artists and Studio, Johannesburg, South Africa
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1998-006-ref12778

Artist studio with Constance Stuart Larrabee's photographs displayed, Johannesburg (South Africa)

Photographer:
Larrabee, Constance Stuart  Search this
Collection Photographer:
Larrabee, Constance Stuart  Search this
Extent:
1 Negatives (photographic) (black and white, 120mm)
Type:
Archival materials
Negatives (photographic)
Date:
1983
General:
Strip number: 4763 - 4765; Larrabee's description on negative sleeve: South Africa 1983, Johannesburg Scenes
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Johannesburg (South Africa)  Search this
South Africa  Search this
Collection Citation:
Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1998-006, Item EEPA 1998-064765
See more items in:
Constance Stuart Larrabee Collection
Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Artists and Studio, Johannesburg, South Africa
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1998-006-ref12779

Artist studio with Constance Stuart Larrabee's photographs displayed, Johannesburg (South Africa)

Photographer:
Larrabee, Constance Stuart  Search this
Collection Photographer:
Larrabee, Constance Stuart  Search this
Extent:
1 Negatives (photographic) (black and white, 120mm)
Type:
Archival materials
Negatives (photographic)
Date:
1983
General:
Strip number: 4766 - 4768; Larrabee's description on negative sleeve: South Africa 1983, Johannesburg Scenes
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Johannesburg (South Africa)  Search this
South Africa  Search this
Collection Citation:
Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1998-006, Item EEPA 1998-064768
See more items in:
Constance Stuart Larrabee Collection
Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Artists and Studio, Johannesburg, South Africa
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1998-006-ref12782

Art and Artists' Studios

Collection Creator:
Swift, Mary  Search this
Container:
Box 4, Folder 17
Type:
Archival materials
Date:
circa 1977-2003
Collection Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mary Swift Papers, 1974-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Mary Swift papers
Mary Swift papers / Series 3: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-swiftmar-ref346

Modify Your Search







or


Narrow By